100
Very few pieces of fiction have been so totally improved in adaptation. The original novelette was clever but thin; the 1973 film is one of the greatest real horror films ever made.
What are people saying?
What are critics saying?
91
Singularly haunting.
100
Revolving around the omnipresent theme of grief (and adapted from Daphne du Maurier’s short story), the film composes a ghostly melancholic reflection on this profound human emotion.
100
One of the definitive mystery chillers of all time. Poignant, beautiful and devastating.
100
The Guardian by Peter Bradshaw
Sutherland and Christie are an overwhelmingly convincing married couple.
100
Chicago Sun-Times by Roger Ebert
Nicolas Roeg’s 1973 film remains one of the great horror masterpieces, working not with fright, which is easy, but with dread, grief and apprehension.
100
Don’t Look Now culminates in a shock for the ages, the grim payoff to Roeg’s editing scheme. But it would all be mere supernatural hokum if the film weren’t so persistently insightful about the gnawing pain of losing a child, and how the mind can keep that wound from scarring over... It would all be unbearably sad, if it weren’t chilling to the bone.
40
The New York Times by Vincent Canby
A fragile soap bubble of a horror film. It has a shiny surface that reflects all sorts of colors and moods, but after watching it for a while, you realize you're looking not into it, but through it and out the other side. The bubble doesn't burst, it slowly collapses, and you may feel, as I did, that you've been had.Not only do you probably have better things to do, but so, I'm sure, do most of the people connected with the film.